As the tragedy of the Grenfell Tower fire of 14 June 2017 has slowly revealed a shadowy background of outsourcing and deregulation, and a council turning a blind eye to health and safety concerns, many questions need answers. Stuart Hodkinson has those answers. Safe as Houses weaves together Stuart’s research over the last decade with residents’ groups in council regeneration projects across London to provide the first comprehensive account of how Grenfell happened and how it could easily have happened in multiple locations across the country. It draws on examples of unsafe housing either refurbished or built by private companies under the Private Finance Initiative (PFI) to show both the terrible human consequences of outsourcing and deregulation and how the PFI has enabled developers, banks and investors to profiteer from highly lucrative, taxpayer-funded contracts. The book also provides shocking testimonies of how councils and other public bodies have continuously sided with their private partners, doing everything in their power to ignore, deflect and even silence those who speak out. The book concludes that the only way to end the era of unsafe regeneration and housing provision is to end the disastrous regime of self-regulation. This means strengthening safety laws, creating new enforcement agencies independent of government and industry, and replacing PFI and similar models of outsourcing with a new model of public housing that treats the provision of shelter as ‘a social service’ democratically accountable to its residents.

musicians rather than from books or written notation – Irish traditional musicians have adapted to changes in communication
technology. John and I listen to radio programmes and recordings to learn
tunes and use the internet to view video clips of traditional Irish music. We are
part of a global community of traditional Irish musicians that share tunes and
stories. John has a wealth of history from his youth and home place but also
adapts to changes in a living musical tradition.
Changing spaces and going global
The conflict between notions of tradition/purism and change

paper, ­analysing the smell experience by recording individual data points such as the ‘smell name/
description’. Ten seconds later another smell
walker may come along, sniff the identical bin
and detect something completely different. There
have been times when two people smelling inside
the same bin at an identical moment in time will
identify completely different smells, or nothing at
all. During this particular walk in September 2014
two individuals simultaneously sniffed another bin;
one noted no identifiable or perceptible odour,
and the other picked out a minty

simultaneously about recording and representing, complementarity and contestation, process and product, and is primarily concerned about understanding our place in the world through the lens of personal
experience. It is not just about the uncovering of the longue durée of archaeological
meaning or geological time, but the act of understanding how all those layers connect (horizontally and laterally) and create a meaningful engagement with, and
experience of, place. While deep mapping as a concept can aid the cartographic
and creative imagination in terms of different ways of

the recording of all the oddities and singularities I pick up on my way along convoluted walks like this one through Connemara. I,
too, want to create meaning, but meaning of a specifically geographical sort. So, I am
particularly interested in or excited by the points at which the thread of my explorations crosses itself, as it were, from various directions, and can be knotted firmly, that
is, memorably, in a way that elevates a mere location to the status of a place.17
Both Robinson and Collins demonstrate the importance of place in their own
processes of filming

right. These serene sunset images also function as graphs or ‘waterfall displays’, with time as an unremitting axis along the
horizontal plane. Weileder has imposed a secondary rigorous system of recording
to that of the photograph, so that the image is constructed as much as captured.
The artist takes multiple digital images of the same scene at regular time intervals,
and then extracts a one pixel-wide vertical strip from the same point in each photograph, laying the strips out in a row so that the composite image can literally be
‘read’ as a record of day turning

informed about the PFI scandal
wrote that she would never again ‘open any of your emails … nor
reply to letters’.44
Given this experience, Edward was determined to ensure that any
remedial works were done properly, to protect himself, his family
and his home – and public property. With this in mind he took
advice from the Information Commissioner’s Office (ICO) – the
UK’s statutory regulator of information rights and data protection
laws – and informed Partners that he would be filming and
audio-recording their inspections, as was his statutory right, ‘for
personal or

twigs snapped off from a tree. And frequently the places too are degraded, left
open to exploitation, for lack of a comprehensible name to point out their natures
or recall their histories.’51 The legacies of some OS renditions are aesthetically
displeasing, if not downright comical – for example, Sruffaunoughterluggatoora
and Muckanaghederdauhaulia in Connemara, and Bullaunancheathrairaluinn in
the Aran Islands. His task as topographer is to rescue place memory: without the
recording and rehearsing of meaning ‘place itself founders into shapelessness, and
time, the

map an area of the world that is yet to be mapped, or to edit
maps already drawn. They are informal affairs held normally over weekends,
organised by a clutch of dedicated OpenStreetMappers, invariably book-ended
by milky tea in the morning and warm beer in the evening. In the interim,
the gathered mappers walk/drive/cycle to blank areas on the OSM map with
GPS devices and/or pens/pencils/paper in hand. They set about walking the
streets, recording their tracks and marking waypoints and points of interest
along the routes taken; all of which are inscribed through

Heterogeneous temporalities, algorithmic frames and subjective time in
geomedia

Pablo Abend

results were animated maps that were used to depict meteorological data and
the movements of satellites (Cornwell and Robinson, 1966: 79). The remediation of the cartographic sign plate, combined with the coupling of cathode ray
tube, computer, input device (light pen) and film camera, added movement to
the cartographic presentation. The film recording served as an intermediary to
enable the publication and circulation of cartographic movement. Beginning in
the 1950s, the cathode ray tube in the form of the television was the main source
for the diffusion of animated